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Masters Music Theory Competency Exam
Part Writing and Analysis
I. PART WRITING
In the key of G major and a 4/4 meter, notate the following chord progression in four-voice
chorale style (soprano and alto in the treble clef; tenor and bass in the bass clef):
I
V6/5
I
ii6
V6/5 of V
Cadential 6/4
V
I
Additional guidelines:
1.
The final I chord should arrive on the downbeat of a measure.
2.
The choice of durations and the total number of measures is up to you.
Draft
Final Version
II. ANALYSIS – PIECE A
Piano Sonata, Haydn Hob. XVI, 40-II
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You have been provided with a score of a piece for piano from the Classic period (see
Piece A). Answer the following questions with reference to this score. A recording of the
piece will be played for you two times.
1.
The piece consists of three large formal sections, each of which includes one or several
distinctive key areas. In the table below, provide the following information for each
section:
• In which measure does the section begin?
• What is the key and Roman numeral of the first chord?
• In which measure does the section end?
• What is the key and Roman numeral of the last chord?
Beginning
measure
number
Key and Roman
numeral of first
chord
Ending
measure
number
Key and Roman
numeral of last
chord
Section 1
______
____________
______
___________
Section 2
______
____________
______
___________
Section 3
______
____________
______
___________
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Form
2.
Consider the tonal and thematic relationships between the different sections of the
piece. In your opinion, which of the following schemes reflects the piece’s overall
form most adequately? Briefly explain your answer.
ABC
A A’ A
ABA
A B A’
Sonata Form
Explanation:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Harmony
3.
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The piece contains four distinct cadences. In the table below, provide the following
information for each cadence:
•
•
•
4.
In which measure does the cadence arrive?
In what key is it?
What type of cadence is it? (Perfect Authentic Cadence, Imperfect
Authentic Cadence, Half Cadence?)
Measure number
Key
Cadence type
Cadence 1
_______
_____
__________
Cadence 2
_______
_____
__________
Cadence 3
_______
_____
__________
Cadence 4
_______
_____
__________
Provide a complete harmonic analysis of the passage shown below (measures 11-18).
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•
Specify the key at the beginning of the passage.
•
Label all chords with Roman numerals, inversion figures, or special
symbols (such as N6, Fr.+6, etc.) as appropriate.
•
For any modulation, specify the new key and show a pivot chord.
Phrase Structure
5.
a) The piece includes several melodic/harmonic phrases. Identify two phrases at the
beginning of the piece that together form a period. In the space below, specify the
beginning and ending measure numbers for each phrase of this period.
•
First phrase (“antecedent”):
______________________________
•
Second phrase (“consequent”): ______________________________
b) The second phrase of the period mentioned above involves a phrase extension.
•
In which measure does the phrase extension begin?
__________________
•
What is the harmonic function of this extension? How does the bass
voice contribute to it?
________________________________________________________
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Piece B
I
ANTON WEBERN, op. 24
Etwas lebhaft
& 42 Œ
˘
b ˘œ n œ
1
Flute
Oboe
Clarinet *
& 42 ‰
2
&4
nœ
f
f
bœ nœ  ‰

rit.
a tempo
# ˘œ ‰ Œ

Œ n œ-
# œ-
f

n œp
3
rit.
a tempo





𝄞Œ
Œ Œ
3


𝄞







5








# œ- b œn œf





Trombone
?2
4

Violin
& 42





𝄞
Viola
B 42





𝄡‰
& 42



𝄞
? 42



&
Piano

* Sounds as notated
#œ nœ
f

Œ


Trumpet *
nœ
‰ Œ

nœ bœ
nœ #œ
#
œ
J
nœ 
Œ
‰
‰‰
3
3
p
f
˘
nœ nœ
˘
˘
nœ ‰ bœ ‰ J ‰ .
J J
n œ. # œ. ‰
3
3
Œ
f
bœ Œ
ƒ
#œ ‰

2
&4
3
f

nœ

& 42
con sord.
#œ nœ
 bœ nœ
‰
nœ
nœ

Horn *

rit.
n œ.
. n œ.
 bœ
f
# œ. n œ.
pizz.
.
 nœ
‰
f
pizz.

Œ

Œ
Œ
nœ
#œ
‰
ƒ
nœ
nœ bœ 
nœ
3
‰ Œ

III. ANALYSIS – PIECE B
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You have been provided with a score excerpt of an orchestral piece from the twentieth
century (see Piece B). Answer the following questions with reference to this score. A
recording of the excerpt will be played for you two times.
Texture
1.
The musical texture of Piece B may be described as a mosaic-like combination of
various short three-note figures. While these three-note figures are all quite similar,
they are presented in such a way that the listener can easily distinguish them from each
other.
Consider measures 1-3 of the score.
a) Name two musical factors that help a listener to recognize the similarities between
the three-note figures.
b) How are the three-note figures in this passage set apart from each other? Name three
musical factors that help a listener to hear each three-note figure as an individual unit
within the overall texture.
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a)______________________________________________________________
b)______________________________________________________________
Melodic Motives
2.
The musical example below shows eight three-note figures occurring in measures 4-7.
They will be referred to as motives A-H in this question.
Compare the above motives A-H, paying careful attention to their melodic structures
and shapes.
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a)
Which motives are exact transpositions of each other? (List each pair of motives
that are related in this way. One possible answer is provided below.)
B and F
___________
b) Which motives are melodic inversions of each other?
___________
___________
___________
___________
___________
___________
c)
Which motives are melodic retrogrades of each other?
___________
___________
___________
___________
d) Which motives are melodic retrograde-inversions of each other?
___________
___________
___________
___________
Rhythm
3.
Compare the overall rhythm of measures 1-3 with the overall rhythm of measures 4-5.
Explain the rhythmic development in measure 4-5.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
Twelve-Tone Series
4.
The pitch structure of Piece B is governed by a twelve-tone series. This twelve-tone
series is used in four different forms (prime form, inversion, retrograde, retrograde
inversion) as well as in different transpositions. The prime form of the series is stated
in measures 1-3. It consists of the following succession of pitches:
Prime form (mm. 1-3): B - Bb - D - Eb - G - F# - G# - E - F - C - C# - A
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This initial statement of the series is followed, in measures 4-8, by three more
statements. For each series statement in measures 4-8, provide the following
information:
• Spell out the succession of pitches that constitutes the series. (The first and
last pitches are given below.)
• Identify the form of the series, choosing from the following options: prime
form, inversion, retrograde, or retrograde-inversion. (You do not need to
to specify the transposition level.)
a)
Measures 4-5, piano
•
Succession of pitches: D ___ ___ ___ ___ ___ ____ ___ ___ ___ ___ C
•
Form of series:
_______________________
Example a
b) Measures 6-7 (beat 1); clarinet, viola, violin, oboe
•
Succession of pitches: C# ___ ___ ___ ___ ___ ____ ___ ___ ___ ___ B
•
Form of series:
_______________________
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Example b
c)
Measures 7 (beat 2) – 8; piano, flute, trumpet
•
Succession of pitches: C ___ ___ ___ ___ ___ ____ ___ ___ ___ ___Bb
•
Form of series:
_______________________
Example c
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